Flip Flappers

Note: this entry is the English translation of previous entry.


This anime tells "A girl stands independent from father's bondage and mother's fondness".

When there is a certain story, if you properly translate the allegory or symbol drawn there, you can understand that story as "depicting a specific event in the real world". It is sometimes interesting and sometimes disappointing.

For the time being, I'm thinking about doing such work on "flipflappers", for the time being.

Cocona's "parents"

Cocona's mother is Mimi.

Who's the father? I think that it is not explicitly stated in the story (I wonder what I missed). Salt seems to be the most natural, but Salt is drawn as if he met Cocona for the first time when Mimi who escaped the laboratory was caught again (I think). Mimi loved Cocona "regularly" when she was pregnant, she probably would love the man who was Cocona's father "regularly". I think that Salt is the most appropriate as such a person, but later Mimi will say to Salt that he did not protect "Papika". If Salt is the father of Cocona it would be natural to tell why he did not protect "Cocona".

So, I don't know. Cocona was born as if she was born by singular reproductive or cell division from Mimi. Even in the later drama, because Mimi is taking the form of Cocona, Cocona is the dead spit of Mimi anyway. And it is Salt's "Dad" who "monitor", "bind" and "use" against Cocona, he did against Mimi as well. It was also Salt's "Dad" to make her brought up by grandma and make Yayaka close to Cocona. Salt's "Dad" knew about Cocona from the time she was born, and he kept on looking at her as if she had the same abilities as Mimi.


The idea of "It is only a girl with special ability to be able to divide into a specific area of the person's heart" is, for example, "Madoka Magica" was a work supported by that idea, it is probably usual in Japan, especially the fiction of "magical girls".

That's the point Salt's "Dad" turned his eyes on Mimi. In the world of "Pure Illusion", where Mimi can open, you can set up a gate to enter others' mind, and Mimi and its partners can enter into the hearts of others from there. This story does not detail in detail what they can and how they can be done when they enter the heart of someone. However, Papika and Cocona came in the heart of Iroha senpai (without using "Elpis", a machine invented by "Dad") Then, Iroha senpai burns all the paintings that she kept painting. I think that "It is like a kind of psychotherapy", I feel that it is not necessarily a bad thing, but Cocona who saw that fact was puzzled by the size of the influence that what she and Papika did on the owner of that heart.

As for that, I don't understand clearlly just what "Dad" wanted to do with Mimi and "Elpis" even by watching the story. I think that taking the name of the organization trying to do something with Mimi and "Elpis" from the doctor god Asclepius, after all, something like psychotherapy was kept in mind. Well, "Dad" wanted to rule the world by brainwashing, I suppose.

That's not a question. Anyway, Mimi could not bear to reality that the abilities and future of myself and Cocona existed for someone to use. And that someone was Salt's "Dad".

Pure Illusion

What is "Pure Illusion"?

From the point where I watched the story to the end I thought again if I try to define what "Pure Illusion" is. "It is the inner world of a person (Mimi in the story), and at the same time it can open the door of the heart of those who touches it."。

If so, all of the products of excellent creative activity may be the "Pure Illusion" that this story says. Whether "Sangokushi (Romance of the Three Kingdoms)", "Anne of Green Gables", "Star Wars", Van Gogh's "Sunflower" and Beethoven's "Pastoral" are all "Pure Illusion".


It was maybe about half of the whole story, I thought watching the ending of this work just like that of "Calpis Kid's Theater" (such as "Heidi, Girl of the Alps") , "Whatever the literary theme is, the core of this work was 'nostalgia for animation'". It was the scene "every picture is connected without any context" in the early episodes, or the scene girls transformed with "flip flipping!", or the scene just like a robot action animation, that, whatever the story will be, we think "Oh yeah, this is fun of watching anime". It seems the authors gathered such fascinating scenes and tried them into a 30 minute program. The nostalgic feelings made by such fascinating scenes, I thought it was a theme that was beyond the "literary theme" of the work.

When you watch the story to the end, you will find this work has a very strong literary theme that can not be moved, and some will feel pretty hard, especially for the viewers who are attracted to this work only by "nostalgia for animation". However, if I defined the role that "Pure Illusion" plays in the literary theme as above, I think it's reasonable that scenes that specifically depict "Pure Illusion" in the form of animation become like a tribute to all that famons animation works.

Independence from "parents"

Cocona knew that both grandma and Yayaka were puppets of "Dad" and was attracted by Mimi who was "Mom" and, in other words, shares "enemy" and "heart scar" in common. But eventually Cocona knows that Yayaka and Papika are still hurting but getting close to Cocona and she is opening her hearts to Yayaka and Papika again from where she was trapped in Mimi's fondness.

Starting from there is a fight between Cocona and Mimi who knew that she was betrayed by her daughter who had shared the wounds of herself with herself and got mad.

I wonder if it was the original schedule of this work to draw this battle endlessly. I imagine somewhere in my heart that the authors of the story might be saying "Mimi's anger and hatred has become extraordinary runaway by one episode", but in the episode of entering in the heart of Iroha senpai, the scene that parents ignore their child and quarrel (this is an experience of Iroha senpai) are purposely inserting (this is the GIF animation at the beginning, I got in Tumblr). It is the evidence that the literary theme of this work that "A girl throw away her family who have lost sight of love and seek her own love" is clearly conscious of the authors of this story, I think.

"The strongest enemy when the daughter tries to become independent is the trauma in her mother's heart", that's it. And, in addition, it was probably a person who thought out about the literary theme of this work by cutting out the scene of that quarrelling parents from the work of "Flipflappers" and making the GIF animation .

Papika 1

Who is Papika?

I think that it will become difficult to understand Papika if you stick too much to "Papika appears in the form of a girl to Mimi that is a mother and to Cocona that is a daughter as well". Although it might be contrary to what the story is drawn, it is easy to understand once to think that "There are two Papikas". Mimi has Mimi's Papika, Cocona has Cocona's Papika.

The important thing is that Papika is Papika herself, at the same time she is part of "Pure Illusion" and part of Mimi, part of Cocona. Furthermore, that such a Papika is not two but a single Papika means that the lives Mimi and Cocona are trying to live are similar each other.

Papika who is part of "Pure Illusion". And Papica who is part of Mimi, or part of Cocona. Mimi asked Salt "Please protect Papika, when I protect Cocona". Papika, who was so important for Mimi.

Only Papica picks up pieces of Mimi from "Pure Illusion". Mimi, and Cocona could not regain themselves in "Pure Illusion" without Papika.

Who is Papika? I think that the answer is not one. If there are many "Pure Illusion" in the hearts of every and every person who touches this work, I think there are many Papikas, who gathers pieces of you from there.


While watching the works I was asking myself, "Does Papika have to be a girl?" What if Papika is a boy? What if Papika is something not human being? And I concluded, "In the world of this story, Papika would have had to be a freaky barefoot girl, but that does not necessarily mean that Papika are necessarily the same life-size girl as Cocona, like Yayaka." Papika, Living in the sewerage pipe of the schoolyard and always barefoot, Papika, flying around the sky with a surfboard floating in the air, she is different from Yayaka. We may not say her "non real", but I think she suggerts something symbolic existence called "Papika".

Papika 2

There are some people who think that this work depics "a girl meets with a GIRLFRIEND".

There are also opening and ending in this work. "Serendipity" (means "rare luck", I think) opening, "Flip flap flip flap" (means, not "flip-flop", but "flapping", I think. In addition, the title of this work "Flipflappers" itself means "the girls flapping and beginnig to fly their own sky") is the ending. The points of view that the two songs draw are pretty different from each other. Ending is singing the depth of the world that Papika opens. In this lyrical world, existence of Papika is something symbolic (for someone a girl, for another a boy, for some people a sister, for some a uncle, for some people as a pet animals, for some as an imaginary character in their heart). The other hand, in opening lyrical world Papika is a clear personality as a real person, a person who runs, falls, cries and laughs with ourselves. opening song is a song that explodes with the joy of "I finally meet my dearest!!"

When I listen "Serendipity" I think that it is the most straightforward to understand this animation as "a girl meets with a GIRLFRIEND". This work begins with the opening called "Serendipity", and ends with an insertion song called "Over the Rainbow" ("Rainbow" is also the symbol color of LGBT). (By the way, I am very dissatisfied in the last of the last episode the prelude of the "flip flap flip flap" cut off. The prelude of the "flip flap flip flap" should have begun with the blank blue sky, otherwise" Over the Rainbow" itself should have been used as ending theme song.) Well, if I trace that work semantically, I think it would be perfect when I understand this work as a piece depicting a drama "a girls meet with a GIRLFRIEND". It is appropriate in reality that "parents are strongly opposed to girls taking a GIRLFRIEND," so that the reality of drawing the struggle with the mother at the end of this work will be increased.

"SF Adventure Yuri(lilies) Anime". However, I feel that it is somewhat too argumentatative to "mean definitely confirm" that work in that way. I think that you can experience that work deeply by understanding such that you can experience "Pure Illusion" in various depths by the viewer while overlapping symbolic images. And by doing so, I think that people watching that work can meet each Papika.


Someone might say, "If the theme of that work was the independence of a girl, is it strange that dogs, cats and imaginary characters are the trigger for the independence of the girl? Actually, Does Papika have to have clear 'personality of otherness' for Cocona?"

As for "personality of otherness", even Yayaka had "personality of otherness". But Cocona chose Papika, not Yayaka, as a partner. Because for Cocona there was "unity" in Papika, not in Yayaka. What Cocona discovered through Papika was Cocona herself's identity, Cocona herself, as "the existence of living Pure Illusion as a part of life". Cocona needed Papika for establishing her identity. Then, if someone ask "What is essential for Papika, as the partner for establishing identity? it isn't the personality of otherness?" I answer "I do not know." I think, some people think that it is essential, and some people do not think so.

What is clear is that "A partner of Cocona could not be Yayaka", I think that it is one evidence of "It is not personality of otherness that the essential condition of a partner for the establishing the identity."


As for symbolic,

I think that the work is basically done for all ages, but only the scene which the girls transform with "flipflapping!" protrudently erotic. However, it is possible to say, "girls transform themselves through erotic experiences".

Overview of the work

I imagine the general impression of the people who watched that work, "It's something complicated animation, isn't it?"

Looking at the illustration of "Flipflappers" in "Pixiv", I think the most frequent coupling is "Cocona & Yayaka", although I have not exactly counted. "At first I got closer by duty, but I really gradually fond of Cocona." Maybe it is "Moe"(cuteness). But in that work, depending on the viewpoint, everything is allegorical, symbolic, ambiguous. So everyone might be relieved by Yayaka who was drawn as a girl with a life-size. They say, "Oh, we understand this girl easily."


Personally, the character who I like about that work is the twins Toto and Yuyu.

I wonder if the authors of this work still want this anime to be somewhere pop and want it to be accepted as a pop work. "Although the literary theme is hidden in this work (though I think that the literary theme is not hidden since it made the final episode so serious), we hope you enjoy the adventure of Papika and Cocona."

I think that it is impossible, but I think that the twins Toto and Yuyu are pop. If you ask "What is your favorite scene in that work", I would answer the conversation of Nyunyu and Yuyu, "Oneesama," "Sore wa iya."

But if we say we are relieved by the pop twins and Nyunyu, we should say that the work has failed in total. The authors of that work should have declared somewhere, "This work is a story of a girl fighting with his parents to grow." Then, the number of people turning their backs on that work may have increased, but there may have been an increase in the number of people who face the work once again thinking "Oh, I got it."

(Nov. 2017)